5 10 581 https://collections.ecu.edu/files/original/25/788/Shella-na-gig.png 0a29cd20639d5eb220e1f533e8a25c21 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sheela-na-gig Subject The topic of the resource Bawn Area Description An account of the resource The sheela-na-gig is a “female exhibitionist figure” carved in stone and found most often in the walls of medieval Irish and British buildings, usually castles or churches. Over one hundred are known to exist in Ireland, roughly twice the number as in Britain. They typically show grimacing old women holding their vulvas. Their purpose and symbolism is unknown, although various theories include warnings against the sin of lust; warding off of evil (hence functioning like a gargoyle on a church); fertility symbols; and charms to assist with childbirth (Manning). Our sheela-na-gig at Kilcolman is modeled on a sandstone carving found buried in a dungeon (in the seventeenth century or before) at Glanworth Castle, Co. Cork. Glanworth was the second-most-important center of the Roche family, after Castletownroche, Co. Cork. The date and ultimate provenance of the Glanworth specimen is unknown. Another sheela-na-gig figure is known from Castletownroche, and one has been found in the wall of the tower house at Fantstown, near Kilmallock, Co. Limerick. The Fantstown specimen is located in the north-eastern corner of the tower house and is evident as one approaches the main doorway. This sheela-na-gig greets a visitor entering the main gate of the bawn, or outer-wall enclosure of the castle complex. We imagine that Spenser or the previous occupants of the castle, such as Sir John of Desmond, intended the sculpture to ward off evil, including enemies. Spenser’s second wife, Elizabeth, had a son with the poet and could also have appreciated any association of the sculpture with the pains of childbirth. Literary Connections When night falls over the newlywed couple in Spenser’s wedding poem, “Epithalamion”, the speaker calls out on various demons of the night (including the Irish “Pouke”) not to disturb them in the comfort of their castle, as they make love (“Epithalamion” 334-52). According to Hugh MacLean and Anne Lake Prescott, “Spenser’s strategy” at this “liminal moment of sexuality,” a time of “transition and initiation,” is “to evoke and then shoo away grotesque fantasy figures” (641). For similar reasons, the poet earlier compares his bride to Medusa (“Epithalamion” 190) who “astonisht” onlookers at her wedding (with a pun in astonisht on turning to “stone”). Read one way, their alarm at her charm is a means of dispelling any potential ill will that the townspeople might bear towards the bride, for they clearly admire her beauty, as well. Read another way, Spenser is himself frightened by specters of female sexuality; it is something that must be overcome if he is to prosper and flourish in Ireland. The most famous hag in Spenser’s oeuvre is surely the witch Duessa (her name, implying duplicity, is also an Irish name, meaning “little black one”), who is stripped and whose shame is exposed in Book I.viii of The Faerie Queene: <blockquote> Such as she was, their eies might her behold, That her misshaped parts did them appall, A loathly, wrinckled hag, ill fauoured, old, Whose secret filth good manners biddeth not be told. Her crafty head was altogether bald, And as in hate of honorable eld, Was ouergrowne with scurfe and filthy scald; Her teeth out of her rotten gummes were feld, And her sowre breath abhominably smeld; Her dried dugs, lyke bladders lacking wind, Hong downe, and filthy matter from them weld; Her wrizled skin as rough, as maple rind, So scabby was, that would haue loathd all womankind. (FQ I.viii.46.6-47) </blockquote> She is monstrous, with animal-like feet and other “filthy feature” that is “open showne”(stanzas 48-49). The imagery comes from the Bible (cf. Isaiah 3.17, 24) and other places and again presents to the reader a haunting specter of female sexuality gone bad, since Duessa had earlier appeared as a beautiful seductress. Her scabbiness here indicates age and disease, including syphilis or perhaps leprosy, a disease that afflicted the unfaithful Cressida in medieval legend. She is allowed to wander off into the wilderness by the heroes of holiness Arthur and Red Crosse Knight, from whence she will later return to cause more confusion. Duessa is not a sheela-na-gig, but like the one we’ve posted next to Spenser’s bawn gate, she represents a grotesque portrayal of female sexuality. She must be grappled with, comprehended and evaded if the Englishman is to prosper in Ireland. Links <a href="http://en.wikipedia.org/wiki/Sheela_na_gig" target="_blank" rel="noopener">http://en.wikipedia.org/wiki/Sheela_na_gig</a> (accessed 11/29/12) [Wikipedia entry on sheela-na-gigs] Creator An entity primarily responsible for making the resource Dr. Thomas Herron Source A related resource from which the described resource is derived Bibliography: Jørgen Andersen, The Witch on the Wall: medieval erotic sculpture in the British Isles (Copenhagen: Rosenkilde and Bagger, 1977): 130, 146. Barbara Freitag. Sheela-na-gigs: unraveling an enigma (London: Taylor and Francis, 2004). Andrew Hadfield, Edmund Spenser: A Life (Oxford: Oxford UP, 2012): 263-4. Hugh MacLean and Anne Lake Prescott (eds), Edmund Spenser’s Poetry. 3rd ed. (NY: Norton, 1993). Conleth Manning, The History and Archaeology of Glanworth Castle, Co. Cork: Excavations 1982-4. Archaeological Monograph Series 4 (Dublin: Stationery Office, 2009): 91-3 and back cover. Judith Owens, “The Poetics of Accommodation in Spenser’s ’Epithalamion,’” Studies in English Literature 40.1 (2000), 41-62. Rory Sherlock, “Newly Recorded Figurative Carvings on Tower Houses in County Limerick.” North Munster Antiquarian Journal 44 (2004), 15-23: 15-16. https://collections.ecu.edu/files/original/25/801/Spinning_wheel.png f212a11349bba8182ac6219595cc08df Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Spinning Wheel Subject The topic of the resource Ground Floor Parlor Description An account of the resource Spenser’s second wife, Elizabeth Boyle, would likely have lived at Kilcolman with him from the time they married, on June 11, 1594 (the date identified in his wedding poem, “Epithalamion”). If so, she would have managed many aspects of the household and performed domestic tasks there. She may also have prepared food and been in charge of any gardens on the estate. One main industry of housewives at the time was to spin yarn out of clumps of wool. We do not know if Boyle would have done this or would have left such work to her servants. Spinning was considered “women’s work” and there was plenty of wool to spin at Kilcolman: pastoral by-products such as wool and leather were economic staples of the Munster plantation. Another spinning product was linen. Linen was widely worn in Ireland but manufactured there only in limited quantities in the sixteenth century. The industry grew by leaps and bounds in later centuries, however, particularly in the north. Literary Connections While spinning by the warmth of the fire, a woman might gossip, share news or tell fantastic “old wives’ tales,“ including literary ones. Spinning activity appears in Spenser’s poetry. In Book V of The Faerie Queene, the Amazon Radigund defeats Artegall, the hero of Justice. Radigund dresses him in an apron and “womans weeds” (V.v.20.7) and places him into a “long large chamber” (V.v.21.3) with many other male captives to spin linen (not wool) yarn: <blockquote> There entred in, he round about him saw Many braue knights, whose names right well he knew, There bound t’obay that Amazons proud law, Spinning and carding all in comely rew, That his bigge hart loth’d so vncomely vew. But they were forst through penurie and pyne, To doe those workes, to them appointed dew: F or nought was giuen them to sup or dyne, But what their hands could earne by twisting linnen twyne. Amongst them all she placed him most low, And in his hand a distaffe to him gaue, That he thereon should spin both flax and tow; A sordid office for a mind so braue. So hard it is to be a womans slaue.… (FQ V.v.22-3) </blockquote> Artegall is modeled allegorically, in part, on Arthur, Lord Grey, Lord Deputy of Ireland from 1580-82 and Spenser’s patron there during those years. Spenser thought that Grey’s efforts at hard-line reform in Ireland were frustrated by backbiting enemies at court and by the English government’s vacillating and conciliatory policies towards the Irish. The Queen, from Spenser’s point of view, was prone to compromise, change policy and be too merciful towards her enemies. She was also stingy (or financially prudent to a fault). Various court factions were able to take advantage of her fickle behavior in this regard and thereby frustrate Grey’s reforms. At the time, a changeful mind and excessive mercy were seen as womanly weaknesses, shared by the queen. By contrast, Grey, a hard-liner, was not allowed to be “manly” enough for long enough to thoroughly reform the country. Some critics see this dilemma acted out allegorically in the above passage. Artegall, a.k.a. Lord Grey, and other brave knights have been reduced to effeminate captivity (spinning linen) thanks to the queen’s interference in and obstruction of their efforts at reforms in Ireland. In this case Radigund represents a negative allegorical portrayal of the Queen, who virtually emasculates her would-be warriors. In Spenser’s prose tract, A View of the Present State of Ireland, Irenius describes the native Irish custom of women directing “all things, both at home and in the fields,” a custom supposedly picked up from their Spanish (Gaulish) ancestry. Irenius states this immediately after noting the Irish custom of wearing shirts and smocks colored with saffron, a habit which also came from Spain: such Spanish shirts are made of linen (View 61). Links: <a href="https://folgerpedia.folger.edu/Housewife%27s_Rich_Cabinet:_Remedies,_Recipes,_%26_Helpful_Hints" target="_blank" rel="noopener">https://folgerpedia.folger.edu/Housewife%27s_Rich_Cabinet:_Remedies,_Recipes,_%26_Helpful_Hints</a> [accessed 1/30/18] [Folger Shakespeare Library exhibit on women’s household occupations and materials] Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU Source A related resource from which the described resource is derived Bibliography: Judith H. Anderson, “Artegall.” The Spenser Encyclopedia. Ed. A. C. Hamilton (Toronto: U of Toronto P, 1990), 62-4. Andrew Hadfield, Edmund Spenser: A Life (Oxford: Oxford UP, 2012): 220-221, 325. Mary Ellen Lamb, The Popular Culture of Shakespeare, Spenser and Jonson (NY: Routledge 2006), esp. ch.’s 3 and 7. Willy Maley, Salvaging Spenser: Colonialism, Culture and Identity (London: Macmillan, 1997): 87-88. Gervase Markham, The English Housewife. Ed. Michael R. Best (Montreal: McGill-Queen’s UP, 1986). M. McAuliffe, “The lady in the tower: the social and political role of women in tower houses.” The Fragility of Her Sex? Medieval Irish women in their European context. Ed. C.E. Meeks and M.K. Simms (Dublin, Four Courts Press: 1996), 153-62. Richard McCabe, Spenser’s Monstrous Regiment: Elizabethan Ireland and the Poetics of Difference (Oxford: Oxford UP, 2002). Andrew Murphy, But the Irish Sea Betwixt Us: Ireland, Colonialism, and Renaissance Literature (Lexington, KY: UP of Kentucky, 1999): 82-5. Carol Schreier Rupprecht, “Radigund.” The Spenser Encyclopedia. Ed. A. C. Hamilton (Toronto: U of Toronto P, 1990), 580-1. https://collections.ecu.edu/files/original/25/802/Tapestry.png 2492e8e5f5f701a0a5ef17a140f30f85 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tapestry Subject The topic of the resource Ground Floor Parlor Description An account of the resource Many well-to-do Elizabethans, like other Europeans, would have had tapestries on their walls, both for decoration and for the purpose of keeping their rooms warm. Many tapestries were woven in France and the Netherlands. We do not know the true extent of Spenser’s household goods or “disposable income,” nor whether or not he could afford such luxuries. Odds are that the cost of setting up the basics of a household at Kilcolman would have devoured most if not all that he had. Wealthy patrons like Raleigh or his neighbors the Norrises, who built huge house at Mallow, County Cork, would have had more to invest in their household goods. The tapestry here is a generic example of one that displays a pastoral/wooded landscape. Another tapestry, with floral motifs, hangs in the Tower House Parlor. Literary Connections Tapestries might tell stories derived from myth, legend and literature. In a well-known episode in Book III, canto xi of The Faerie Queene, the heroine of chastity, Britomart, enters the evil House of Busyrane and travels through a room decorated with many gold- and silk-threaded tapestries depicting amorous scenes: <blockquote> For round about, the walls yclothed were With goodly arras of great maiesty, Wouen with gold and silke so close and nere, That the rich metall lurked priuily, As faining to be hidd from enuious eye; Yet here, and there, and euery where vnwares It shewd it selfe, and shone vnwillingly; Like to a discolourd Snake, whose hidden snares Through the greene gras his long bright burnisht back declares. And in those Tapets weren fashioned Many faire pourtraicts, and many a faire feate, And all of loue, and all of lusty-hed, As seemed by their semblaunt did entreat; And eke all Cupids warres they did repeate, And cruell battailes, which he whilome fought Gainst all the Gods, to make his empire great; Besides the huge massacres, which he wrought On mighty kings and kesars, into thraldome brought. Therein was writt, how often thondring Ioue Had felt the point of his hart percing dart, And leauing heauens kingdome, here did roue In straunge disguize, to slake his scalding smart; Now like a Ram, faire Helle to peruart, Now like a Bull, Europa to withdraw: Ah, how the fearefull Ladies tender hart Did liuely seeme to tremble, when she saw The huge seas vnder her t’obay her seruaunts law. (FQ III.xi.28-30) </blockquote> Busyrane’s majestic tapestries tell the same kinds of stories as the epic itself. They stress the power of love and desire (or “Cupids warres”) to conquer all. Links: <a href="http://www.metmuseum.org/Collections/search-the-collections/70007568" target="_blank" rel="noopener">www.metmuseum.org/Collections/search-the-collections/70007568</a> [accessed 10/30/12] [famous unicorn tapestries in the Cloisters, Metropolitan Museum of Art, NY] Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU Source A related resource from which the described resource is derived Bibliography: Christopher Burlinson, Allegory, Space and the Material World in the Writings of Edmund Spenser (Cambridge: D.S. Brewer, 2006), ch. 3 (“Galleries: Space, Mythography, and the Object”). Michael L. Donnelly, “tapestries.” The Spenser Encyclopedia. Ed. A. C. Hamilton (Toronto: U of Toronto P, 1990), 677-8. Jane Grogan, Exemplary Spenser: visual and poetic pedagogy in The Faerie Queene (Aldershot: Ashgate, 2009): 117-126. https://collections.ecu.edu/files/original/25/829/Weaponry.png 687d2b340c8f151ab427766976096fe3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Weaponry Subject The topic of the resource Tower House Storage Room and Armory Description An account of the resource Spenser was known for his experience in several wars. His reputation in this regard helped secure him the nomination of Sheriff of Cork soon before his death. The Munster planters were responsible, in part, for their own security, including supplying able-bodied men and equipment for militias in time of need. Many weapons would have been stored in secure levels of a tower house, including areas like this one between main floors. Estates would often have had their own smithies and carpentries that could have made weapons, farm and household goods. Literary Connections The Faerie Queene is full of weapons used for fighting on foot and horseback. In a few cases, we learn about weapons manufacture. Book I.i.8-9 presents a Virgilian catalog of trees described according to their industrial, medicinal and folkloric uses. We read this catalog when the hero of Book I, Red Crosse Knight, and his lady Una are caught by a rainstorm and enter into a forest for shelter at the very beginning of the epic: <blockquote> And foorth they passe, with pleasure forward led, Ioying to heare the birdes sweete harmony, Which therein shrouded from the tempest dred, Seemd in their song to scorne the cruell sky. Much can they praise the trees so straight and hy, The sayling Pine, the Cedar proud and tall, The vine-propp Elme, the Poplar neuer dry, The builder Oake, sole king of forrests all, The Aspine good for staues, the Cypresse funerall. The Laurell, meed of mightie Conquerours And Poets sage, the Firre that weepeth still, The Willow worne of forlorne Paramours, The Eugh obedient to the benders will, The Birch for shaftes, the Sallow for the mill, The Mirrhe sweete bleeding in the bitter wound, The warlike Beech, the Ash for nothing ill, The fruitfull Oliue, and the Platane round, The caruer Holme, the Maple seeldom inward sound. (FQ I.i.8-9) </blockquote> The trees listed here have both positive and negative uses and connotations. It is possible that the “Aspine good for staues” refers to barrel staves, but it might also refer to weapon “staves” (such as those held by Irish-looking villains in FQ II.ix.13.7). Images of violence and warfare are clustered in the second stanza in particular: laurel for crowning “mightie Conquerors,” the yew (“Eugh”) for bows, myrrh with its “bitter wound” (an apparent allusion to myrrh’s association with the crucified Christ in the Bible, Mark 15.23), the birch for arrow “shaftes,” and the beech for “war” chariots (cf. Homer’s Iliad 5.839). Spenser opens his epic with images of trees fashioned for heroic and deadly uses. Links: <a href="http://folgerpedia.folger.edu/Now_Thrive_the_Armorers:_Arms_and_Armor_in_Shakespeare" target="_blank" rel="noopener">http://folgerpedia.folger.edu/Now_Thrive_the_Armorers:_Arms_and_Armor_in_Shakespeare</a> [accessed 2/22/16] [Folger Shakespeare Library exhibit on arms and armor] Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU Source A related resource from which the described resource is derived Bibliography: Andrew Hadfield, Edmund Spenser: A Life (Oxford: Oxford UP, 2012): 201, 220. A. C. Hamilton (ed.), The Faerie Queene. By Edmund Spenser. 2nd ed. rev. (Harlow: Pearson, 2007), 33-4n. Thomas Herron, “‘Goodly Woods’: Irish Forests, Georgic Trees in Books I and IV of Edmund Spenser’s Faerie Queene.” Quidditas: JRMMRA 19 (1998), 97-122. Peter Rieman, “Silvan Matters: Error and Instrumentality in Book I of The Faerie Queene.” Spenser Studies 28 (2013), 119-43. Colin Rynne, “The social archaeology of plantation-period ironworks in Ireland: immigrant industrial communities and technology transfer, c.1560-1640.” Plantation Ireland: Settlement and Material culture, c. 1550-c. 1700 (Dublin: Four Courts Press, 2009), 248-64. Michael West, “Spenser’s Art of War: Chivalric Allegory, Military Technology, and the Elizabethan Mock-Heroic Sensibility.” Renaissance Quarterly 41 (1988), 654-704: 663-4. https://collections.ecu.edu/files/original/25/825/Woodcut_St_George.png c80265970381ea472ee60546ac8ae955 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Woodcut of St George Subject The topic of the resource Tower House Study Description An account of the resource The only woodcut to be published in the 1590 and 1596 editions of The Faerie Queene is this woodcut of St George, which appeared facing the opening of Book II. It had been used by the printer of The Faerie Queene, John Wolfe, in earlier publications. George was far from unknown in Ireland. An annual celebration of the saint, complete with procession and dragon, occurred in Dublin until the 1570s. In Munster, a curious artifact of the Desmond lordship —a rare example of something that actually remains— is a sixteenth-century Desmond coat of arms carved on whale-bone, now housed in the National Museum of Ireland. It shows a mounted horseman spearing a dragon. The carving appears to have been tampered with (exactly when is uncertain), so that the mounted horseman has been turned into an image of St George. Literary Connections The hero of Book I of The Faerie Queene, the book of Holiness, is Red Crosse Knight, who becomes St George by fighting against the Dragon in canto xi. St George is the patron saint of England, and the Dragon bears signs that would indicate its identity as Satan (“that old dragon” of the Book of Revelation). It also has features that would indicate topical references to Pope Gregory XIII (whose emblem was a dragon), Spain, and Ireland all wrapped into one. Its black and red scales are compared to an army’s shields, for example (black and red were the colors of the Castillian, i.e., Spanish monarchy), it has “sail”-like wings (shades of the Spanish Armada, which was dispersed by the English and a storm, and which crashed in part on Irish shores) and its tail is wrapped in “boughts and knots” and pointed with a double sting: the words evoke the Irish bonnaught (Irish buanacht), a term for the predatory biletting by mercenary soldiers that squeezed the country and that New English administrators tried to reform or eliminate. When the giant Dragon is slain, it is measured “To proue how many acres he did spred of land” (FQ I.xii.11.9). Accordingly, the downfall of the noble house of Desmond led to its attainder, including the forfeiture, measurement and plantation of its land by opportunists such as Spenser. Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU Source A related resource from which the described resource is derived Bibliography: Andrew Hadfield, Edmund Spenser: A Life (Oxford: Oxford UP, 2012): 219. Thomas Herron, “An Exhibit in Ireland.” Spenser Review 33.2 (Summer 2002), 41-4. —, Spenser’s Irish Work: Poetry, Plantation and Colonial Reformation (Aldershot: Ashgate, 2007): 136-7. Belinda Humfrey, “dragons.” The Spenser Encyclopedia. Ed. A. C. Hamilton (Toronto: U of Toronto P, 1990), 223-4. Robert Kellogg, “Red Cross Knight.” The Spenser Encyclopedia. Ed. A. C. Hamilton (Toronto: U of Toronto P, 1990), 587-8. Hugh MacLachlan, “George, St.” The Spenser Encyclopedia. Ed. A. C. Hamilton (Toronto: U of Toronto P, 1990), 329-30. Paul J. Voss, “The Faerie Queene 1590-1596: the Case of Saint George.” Ben Jonson Journal 3 (1996), 59-73. https://collections.ecu.edu/files/original/15/119/DSC_0002.JPG 01643410453c9d12bca9aaa3d884154b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buddhist Holy Land Creator An entity primarily responsible for making the resource Derek F. Maher Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 123 Subject The topic of the resource 123 Description An account of the resource Sravasti: Jetavana Creator An entity primarily responsible for making the resource Derek F. Maher Identifier An unambiguous reference to the resource within a given context Sravasti/DA Jetavana Stills/DSC_0002.JPG Date Created Date of creation of the resource. 5/29/2016 https://collections.ecu.edu/files/original/15/120/DSC_0004.JPG f02cd8dd540c711d68810d15f9fa1583 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buddhist Holy Land Creator An entity primarily responsible for making the resource Derek F. Maher Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 123 Subject The topic of the resource 123 Description An account of the resource Sravasti: Jetavana Creator An entity primarily responsible for making the resource Derek F. Maher Identifier An unambiguous reference to the resource within a given context Sravasti/DA Jetavana Stills/DSC_0004.JPG Date Created Date of creation of the resource. 5/29/2016 https://collections.ecu.edu/files/original/15/121/DSC_0006.JPG 993652d41952d7b7c864f92baa5e5ea9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buddhist Holy Land Creator An entity primarily responsible for making the resource Derek F. Maher Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 123 Subject The topic of the resource 123 Description An account of the resource Sravasti: Jetavana Creator An entity primarily responsible for making the resource Derek F. Maher Identifier An unambiguous reference to the resource within a given context Sravasti/DA Jetavana Stills/DSC_0006.JPG Date Created Date of creation of the resource. 5/29/2016 https://collections.ecu.edu/files/original/15/122/DSC_0015.JPG 11b9a562a16f1346a8127f62d2f5dcf1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buddhist Holy Land Creator An entity primarily responsible for making the resource Derek F. Maher Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 123 Subject The topic of the resource 123 Description An account of the resource Sravasti: Jetavana Creator An entity primarily responsible for making the resource Derek F. Maher Identifier An unambiguous reference to the resource within a given context Sravasti/DA Jetavana Stills/DSC_0015.JPG Date Created Date of creation of the resource. 5/29/2016 https://collections.ecu.edu/files/original/15/123/DSC_0021.JPG 4658e737ac40623f7ddb12c71e6242dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buddhist Holy Land Creator An entity primarily responsible for making the resource Derek F. Maher Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 123 Subject The topic of the resource 123 Description An account of the resource Sravasti: Jetavana Creator An entity primarily responsible for making the resource Derek F. Maher Identifier An unambiguous reference to the resource within a given context Sravasti/DA Jetavana Stills/DSC_0021.JPG Date Created Date of creation of the resource. 5/29/2016